Thanks for the info, the BBC website is confusing. Young Musician has been on all this week in the middle of the night. I thought that was a bit of an insult to the programme till I realised that it's been repeats of the 2008 competition. 2010 category finals are on each Friday evening at 7.30 starting tonight.

I'm looking forward to hearing Tom Berry play (yes it is nice to see some representation from the brass band world), and also the horn player who is principal at the NYO who was excellent when I heard them in January. Actually, I'm looking forward to hearing all of them, I can't imagine that there'll be any performance that isn't very good!

I'll be rooting for one of the percussionists, Lucy Landymore this year. Might even see my ugly mug on the percussion episodes in may! We had the BBC along at a big band rehearsal that I was asked to do at the last minute. Very talented young girl and she even occasionally dabbles in a bit of banding!

I'll be rooting for one of the percussionists, Lucy Landymore this year. Might even see my ugly mug on the percussion episodes in may! We had the BBC along at a big band rehearsal that I was asked to do at the last minute. Very talented young girl and she even occasionally dabbles in a bit of banding!

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more than one bander then....

I've sat in the same section as Tom and the previous winner Pete Moore at 'gates, both great players, perhaps it's my turn next!

Is it just me, or does anyone else think a French sounds like a poor man's tenor horn with horrible thin insipid tone and no vibrato. And what is the point of that comically large bell when they always play with their hand shoved in the end. I wonder what they sound like played open with a bit of welly.

Is it just me, or does anyone else think a French sounds like a poor man's tenor horn with horrible thin insipid tone and no vibrato. And what is the point of that comically large bell when they always play with their hand shoved in the end. I wonder what they sound like played open with a bit of welly.

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I don't know if it's just you, but I prefer the French horn sound by far.

I don't know if it's just you, but I prefer the French horn sound by far.

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My problem isn't the instrument, it's the guys who think they can play it....

They should be compelled to attend an aural competency/intonation class and refused a permit to take said instrument anywhere near musicians until said competency class has granted said guys with a certificate acknowledging their attainment of an acceptable level of aural competency and intonation.

And it shouldn't end there....A rolling system of inspections without warning should be in place and unsatisfactory players should have their permits revoked....

But who'd be brave enought to step into a roomful of French Horn players?

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Is it just me, or does anyone else think a French sounds like a poor man's tenor horn with horrible thin insipid tone and no vibrato. And what is the point of that comically large bell when they always play with their hand shoved in the end. I wonder what they sound like played open with a bit of welly.

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Certainly not just you! Only thing worse is someone playing a Tenor Horn with a French Horn mouthpiece and adaptor! Criminal!

Is it just me, or does anyone else think a French sounds like a poor man's tenor horn with horrible thin insipid tone and no vibrato. And what is the point of that comically large bell when they always play with their hand shoved in the end. I wonder what they sound like played open with a bit of welly.

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I might suggest you've never heard it played properly. You're in London - pop along to hear the Philharmonia at some point. When those guys are giving it the beans, the whole street knows about it.

I also think you might be in the minority thinking that Tenor Horns are in some way better. Ask yourself this; if the tenor horn is so much better than a french horn, why are they not used in any other form of music making than the brass band?

Anyway, I digress.

I didn't manage to see all of last night's programme, but enjoyed what I saw. Especially the horns! What I did notice though, is the lack of stage presence of some of the competitors. One or two looked petrified, stared straight at their music and failed to communicate anything. Half the battle of performing is.........PERFORMING! Giving a show, putting on an act, whatever you want to call it. I see so little of that in the young performers of today. No matter how good a player is, they must be able to develop a relationship with their audience, otherwise it's no use turning up at all.

I might suggest you've never heard it played properly. You're in London - pop along to hear the Philharmonia at some point. When those guys are giving it the beans, the whole street knows about it.

I also think you might be in the minority thinking that Tenor Horns are in some way better. Ask yourself this; if the tenor horn is so much better than a french horn, why are they not used in any other form of music making than the brass band?

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No finer sound when played well, that's for sure. But you're talking about the top one per cent. Most of 'em make £5000 instruments sound malicious....
Tenor Horns aren't better, they're different...but you know that...

Ask yourself this; if the tenor horn is so much better than a french horn, why are they not used in any other form of music making than the brass band?

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They are, albeit they are a big minority and exception to the rule in most cases. Would have thought someone in your field would have known that.
French/tenor horn players have always been bashing each other, no-one ever wins though as the instruments and the context in which they are normally used are so majorly different.
There are some amazing sounding french horn players out there, unfortunately for every one of those I hear, there seem to be another couple of thousand who's purpose in life seems to be aural offense.
If it is such a "hard" instrument (beurgh), why can't all the players who can't make it sound easy go and play with foxhunting packs or something.. preferably being chased.

I didn't manage to see all of last night's programme, but enjoyed what I saw. Especially the horns! What I did notice though, is the lack of stage presence of some of the competitors. One or two looked petrified, stared straight at their music and failed to communicate anything. Half the battle of performing is.........PERFORMING! Giving a show, putting on an act, whatever you want to call it. I see so little of that in the young performers of today. No matter how good a player is, they must be able to develop a relationship with their audience, otherwise it's no use turning up at all.

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I thought that Pete won it last time on his communication skills. He seemed to be the only one that connected with the audience. Having said that, surely it's always been the failing of the younger performer to communicate effectively and isn't just a recent problem. For most people effective communication is an art that takes a lifetime (and I mean in general, not just musical performance).

Yes, it is just you! (And the minority that think the same) to call it a poor man's alternative to the pretend horn is hillarious! Have you seen the price of a top end French horn?

Like someone's already said, if saxhorns are so much better, why do orchestras, wind
Bands, wind quintets, brass quintets, musicals etc use french horns rather than them? French horns are far superior and much more difficult to play, you've obviously never heard a section of french horns playing with 'a bit of welly?' I suggest you go and see a good orchestra play something like Mahler 5, then come back and reply.

Is it just me, or does anyone else think a French sounds like a poor man's tenor horn with horrible thin insipid tone and no vibrato. And what is the point of that comically large bell when they always play with their hand shoved in the end. I wonder what they sound like played open with a bit of welly.

As an ex-tenor horn player now promoted(?) to bass ........ I'm not getting involved in any arguments, all I'll say is that I tried a French horn at school many moons ago and was back on tenor in about ten minutes!

Back to last night - won by an 18 year old girl horn player. Three of the five are Chetham's pupils (including two 18 year olds - what age do the English finish school at, if these guys are 18 by early in the calendar year?) and all five play in the NYO. Because of this there was almost a feeling of a lack of competition - more like a series of recitals amongst friends. Personally, I liked the trombonist - lovely tone, very relaxed and the only one who looked remotely like he was trying to involve the audience - but (not unusually) my good lady immediately picked the winner. What do I know about brass, eh - outdone by a piano player yet again?!
Speaking of pianists - let's here it for the largely-unacknowledged accompanists at an event of this kind - superb work, one and all.

Yes, it is just you! (And the minority that think the same) to call it a poor man's alternative to the pretend horn is hillarious! Have you seen the price of a top end French horn?

Like someone's already said, if saxhorns are so much better, why do orchestras, wind
Bands, wind quintets, brass quintets, musicals etc use french horns rather than them? French horns are far superior and much more difficult to play, you've obviously never heard a section of french horns playing with 'a bit of welly?' I suggest you go and see a good orchestra play something like Mahler 5, then come back and reply.

Rant over ;-)

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It's not the instrument that's a pia, it's the divs who think they can play it....